I began my academic studies at Corpus Christi College, Cambridge, where I read Music. After taking a year out to focus on my career in drag performance, I began at Oxford in 2015, where I completed the MSt in Musicology at Wadham College, before beginning my doctoral research at St Catherine’s College. My position at Queen’s is my first academic post.


My teaching focuses on music from the 19th century onwards and engages a broad interdisciplinary theoretical apparatus. I teach papers ranging from Global Hip Hop and World Jazz to Musical Thought and Scholarship, endeavouring in each to foreground marginalised voices.


My research interrogates lip-syncing in drag performance. I’m particularly interested in how the voice functions in such settings, and what the benefits are for the drag queens who employ this unique mode of voicing. More broadly, my research interests revolve around phenomenology, psychoanalysis, and queer theory.


  • Forthcoming: “The Cyborg Queen: Lip-Syncing and Posthumanism in ShayShay’s ‘Mutual Core’”, in Contemporary Music Review, Special Issue: Music and Materialism.
  • Forthcoming: Review, “Lipsynching. By Merrie Snell. New York: Bloomsbury Academic, 2020. 185 pp. ISBN 978-1-5013-5234-8”, in Popular Music.
  • “Haptic Aurality: On Touching the Voice in Drag Lip-Sync Performance”, in Sound Studies (2019) Volume 6, Number 1, pp. 45-64.